The German Classics of the Nineteenth and Twentieth Centuries, Volume 04: Masterpieces of German Literature Translated into English. in Twenty Volumes
General
The German Classics of the Nineteenth and Twentieth Centuries, Volume 04: Masterpieces of German Literature Translated into English. in Twenty Volumes
German literature -- 19th century -- Translations into English; German literature -- 20th century -- Translations into English
view a prophet, in all-seeing wisdom a guardian spirit of a higher
order, he lowers himself to mortals as if unconscious of his
superiority, and is as open and unassuming as a child.
If the delineation of all his characters, separately considered,
is inimitably bold and correct, he surpasses even himself in so
combining and contrasting them that they serve to bring out one
anothers' peculiarities. This is the very perfection of dramatic
characterization: for we can never estimate a man's true worth if we
consider him altogether abstractedly by himself; we must see him in
his relations with others; and it is here that most dramatic poets are
deficient. Shakespeare makes each of his principal characters the
glass in which the others are reflected, and by like means enables us
to discover what could not be immediately revealed to us. What in
others is most profound, is with him but surface. Ill-advised should
we be were we always to take men's declarations respecting themselves
and others for sterling coin. Ambiguity of design with much propriety
he makes to overflow with the most praiseworthy principles; and sage
maxims are not infrequently put in the mouth of stupidity, to show how
easily such commonplace truisms may be acquired. Nobody ever painted
so truthfully as he has done the facility of self-deception, the half
self-conscious hypocrisy toward ourselves, with which even noble minds
attempt to disguise the almost inevitable influence of selfish motives
in human nature. This secret irony of the characterization commands
admiration as the profound abyss of acuteness and sagacity; but it is
the grave of enthusiasm. We arrive at it only after we have had the
misfortune to see human nature through and through, and after no
choice remains but to adopt the melancholy truth that "no virtue or
greatness is altogether pure and genuine," or the dangerous error that
"the highest perfection is attainable." Here we therefore may perceive
in the poet himself, notwithstanding his power to excite the most
fervent emotions, a certain cool indifference, but still the
indifference of a superior mind, which has run through the whole
sphere of human existence and survived feeling.
Public-domain text, read in full here on John Shaqi.
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